“Side one features a collection of songs performed by a pliant and almost pristine quartet playing songs by Ornette Coleman, Paul Motian, Chris Schlarb, and Shadduck himself, while side two finds Anthony leading a loose, rocking and roiling double quartet performing more obliquely structures pieces and employing a healthy dose of spontaneous improvisation. Both ensembles strike my ear as CLASSIC, spanning the areas of jazz impressionism and edgy-yet-controlled “free jazz” with dedication and distinction.”
[From the liner notes, written by Nels Cline]
Originally released in 1969 on MPS Records 1972 BASF Pressing Format: LP
Released in 1977 on RCA Recorded live on a European tour in 1963 Format: LPx2
Originally released in 1969 on Columbia Records 1977 Pressing
Released in 1973 on Blue Thumb Records Format: LP, Quadrophonic Pressing
Over the past decade, Josh Abrams has been using his guimbri to create music inspired by the ceremonial music of the Gnawa in North Africa, infusing it with a wide variety of influences from kosmische to minimalism to the avant-garde jazz of his local scene in Chicago. On this album, the focus is on “pure motion” driven by double drummers hypnotically interlocking with guimbri, guitar, keys and harmonium. Each individual plays unique rhythmic figures that push and pull against each other like polyrhythmic tectonic plates, creating constantly changing, yet circular grooves.
Released in 1966 on Blue Note Records 1971 United Artists Repress Format: LP
Released in 1981 on ECM Records Recorded in concert in May, 1980 at Amerika Haus München, Germany Format: LPx2
Recorded Dec 3-4, 1965 in Stockholm, Sweden Released in 1966 on Blue Note Records Ornette Coleman – Alto Sax, Violin, … More
Recorded live at Cafe Monmartre in Copenhagen, Denmark on November 23, 1962 Released in 1976 on Arista Records
Released in 1959 on Atlantic Records 1970’s Pressing
Information: Released in 1974 on Milestone Recorded on July 7, 1973
This fantastic compilation album consists of 2 hours of unreleased recording sessions ranging from 1970 to 1974. Despite some incohesiveness, this release contains some of the most exciting, creative and uncategorizable music of Miles’ career.
I highly recommend this album to fans of the innovative and exploratory period of jazz fusion of the early 70’s, where electric instrumentation, funk rhythms, experimental production techniques, and spacey synthesizers met the improvisation, freedom, and uplifting soul of the spiritual jazz of the 60’s. Herbie Hancock’s Mwandishi trilogy, Miles Davis’ Bitches Brew, Weather Report’s first LP are good touchstones, but this album truly offers something unique.
Information Released in 1973 on Columbia Records Recorded between 1936-1958
Five intuitive and melodic duets performed by two longtime musical soulmates. Charlie Haden plays upright bass and Ornette plays tenor saxophone and trumpet on the last track.
Album Information: Originally released in 1964 on Blue Note Records 1975 United Artists Pressing
Album Information: Released in 1969 on Impulse Records 1972 pressing
Album Information: Originally released in 1971 on Impulse Records This pressing was released in 1997 on Impulse/MCA Records Recorded November … More
Kamasi Washington and his band The Next Step, pick up where their forefathers and mothers left off by making spiritual jazz that respects the jazz canon without getting stuck in the past. This album ranges from free to groovy to melodic without losing sight of its mission. The inclusion of such a large band, an orchestra, a choir, and even a turntablist allows an infinite, colorful array of tonal and dynamic possibilities.
Album Information: Released in 1973 on CBS/Columbia
Abstract fusion grooves, driving hard bop, and spacious modal jazz with horn overdubs and spacey synthesizers.
Album Information: Released in 1978 on ECM Records Recorded November 1977 at Talent Studio, Oslo Engineered by Jan Erik Kongshaug … More
While living in London I had an apartment with a small garden. During he summer around 4 or 5 o’clock in the morning, just as the day began, Birds would gather here one by one and sing together, each declaring its freedom in song. It is my wish to share the same spirit with other musicians and communicate it to the people. -Dave Holland
Description: Czech bassist Miroslav crafts some flashy jazz funk with Herbie Hancock, percussionist Airto Moreira, vocalists Cheryl Grainger & Onike, … More
Meditative jazz explorations of space, rhythm and textures inspired by Miles Davis’ ambient jazz pieces, Gnawa ceremonial music of North Africa, the spiritual jazz of Pharoah Sanders and Don Cherry, and the mutating minimalism of Steve Reich.
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Album Information: Released on Milestone Records in 1972
“Classic creative bop melodies and golden era beat memories woven into a vibrant new thread of psychedelic soul jazz”
“The music in this album is dedicated to creating a better world; a world without war and killing, without racism, without poverty and exploitation; a world where men of all governments realize the vital importance of life and strive to protect it rather than destroy it. We hope to see a new society of enlightenment and wisdom where creative thought becomes the dominant force in all people’s lives” – Charlie Haden
The past, present, and future of jazz converge on this progressive new release from the legendary drummer Jack DeJohnette, who’s played on everything from Miles Davis’ Bitches Brew to albums with Keith Jarrett, Alice Coltrane, Freddie Hubbard, and numerous other masters since the late 60′s. Joining him are two descendants of the classic John Coltrane Quartet, Ravi Coltrane on tenor and soprano sax and Matthew Garrison (son of Jimmy Garrison) on electric bass and electronics. Rather than dwell in the shadows of their fathers, these two have already developed their own powerful and unique voices which are welcome additions to the jazz lineage.
A couple of months before his death in 1967, John Coltrane went into the studio with drummer Rashied Ali to record some of the most free recordings he’s ever made, the freest of free jazz. Perhaps this freeness is due to the absence of other tonal instruments, leaving Coltrane untethered to harmony and 100% free to play whatever raw, unhindered creativity flows through him.